The well-draining ‘sandbelt’ in the southeast of Melbourne boasts many world-famous links established during the ‘golf boom’ of the 1920s. The soil conditions that make for good golf – sandy, loamy dirt – are also optimal for cemeteries. Starting in the 1930s ‘memorial parks,’ built at the urban periphery, began to replace crowded churchyards and Victorian-era cemeteries in the urban core. Sometimes within a stone’s throw of putting grounds, these new sites for burial placed the dead below bronze markers set into undulating green surfaces – very much reminiscent of a golf course. This paper offers a history of the landscape architecture, planning, and cultural shifts that aided in the development of both the suburban ‘memorial park’ and the modern golf course, two typologies that place a huge importance on Sylvan water features and grassy dells. The space allocated to each in rapidly urbanising areas illuminates the tension between the infrastructure of death and memorialisation and the land reserved for the living, and their leisure activities. Taking the history of the cemetery and the golf course together, this paper examines the pastoral imaginary of mid-century spatial planners as both a cultural phenomenon and a technological feat, made possible by advances in irrigation and pest control. In the ensuing years the green imaginary of these heavily sprayed ‘lawnscapes’ has evolved with the emergence of various ‘green infrastructure’ framings, and a new scrutiny of land- and sod-intensive sites. Creating greenspaces for humans may not be enough, and both cemeteries and golf courses have struggled to justify their existence. Managers of these sites have started to channel a more-than-human constituency that includes plant and animal life who also ‘inhabit’ their spaces.
{"title":"The Cemetery and the Golf Course: Mid-Century Planning and the Pastoral Imaginary","authors":"Sam Holleran","doi":"10.55939/a5025pavmv","DOIUrl":"https://doi.org/10.55939/a5025pavmv","url":null,"abstract":"The well-draining ‘sandbelt’ in the southeast of Melbourne boasts many world-famous links established during the ‘golf boom’ of the 1920s. The soil conditions that make for good golf – sandy, loamy dirt – are also optimal for cemeteries. Starting in the 1930s ‘memorial parks,’ built at the urban periphery, began to replace crowded churchyards and Victorian-era cemeteries in the urban core. Sometimes within a stone’s throw of putting grounds, these new sites for burial placed the dead below bronze markers set into undulating green surfaces – very much reminiscent of a golf course. This paper offers a history of the landscape architecture, planning, and cultural shifts that aided in the development of both the suburban ‘memorial park’ and the modern golf course, two typologies that place a huge importance on Sylvan water features and grassy dells. The space allocated to each in rapidly urbanising areas illuminates the tension between the infrastructure of death and memorialisation and the land reserved for the living, and their leisure activities.\u0000Taking the history of the cemetery and the golf course together, this paper examines the pastoral imaginary of mid-century spatial planners as both a cultural phenomenon and a technological feat, made possible by advances in irrigation and pest control. In the ensuing years the green imaginary of these heavily sprayed ‘lawnscapes’ has evolved with the emergence of various ‘green infrastructure’ framings, and a new scrutiny of land- and sod-intensive sites. Creating greenspaces for humans may not be enough, and both cemeteries and golf courses have struggled to justify their existence. Managers of these sites have started to channel a more-than-human constituency that includes plant and animal life who also ‘inhabit’ their spaces.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121954567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Burra Charter: the Australia ICOMOS Charter for Places of Cultural Significance has evolved with a broadening of definitions, scope and acknowledgement of multiple values since first adopted in 1979. Accepted normative cultural heritage practices have been called into question in recent years, especially in places where settler colonial settlement occurred. These advances have unsettled previously accepted relationships between place, heritage fabric and community. This paper re-investigates the former Burns, Philp & Co Ltd Offices and Warehouse (1895) in the North Queensland regional centre of Townsville. It was identified in 1975 as a landmark and is at an important intersection of heritage buildings. The change from a hastily erected frontier settlement to a town confident in its future and place in the region is illustrated in this building. The research found that the narratives underlying the cultural significance were incomplete and disconnected. This place was intrinsically linked with the foundation of Townsville and its early development as a port. Hence, it also symbolises the crossing of settler colonial and First Nations peoples’ cultures. It was also evident that the relationship between ongoing commercial needs and the cultural significance of the place were unsettled due to the selective consciousness evident in the narratives. Re-crossing these narratives within the context of contemporary practice provides a framework to inform ongoing change. This is essential for a commercial use that is required to adapt to commercial reality while also responding to heritage constraints. The focus of the paper is then the underlying narratives rather than their possible interpretation. This study is timely in the case of the Burns Philp Building as new owners contemplate further change after a period of decline and Townsville City Council is rapidly constructing the East End boardwalk across the site.
《布拉宪章》:自1979年首次通过以来，国际古迹遗址理事会关于文化重要地点的澳大利亚宪章随着定义、范围和对多重价值的承认而不断发展。近年来，公认的规范文化遗产做法受到了质疑，特别是在定居者殖民定居的地方。这些进步动摇了以前被接受的地点、遗产结构和社区之间的关系。本文重新调查了汤斯维尔北昆士兰区域中心的前Burns, Philp & Co Ltd办公室和仓库(1895年)。它于1975年被确定为地标，位于遗产建筑的重要交叉点。从一个匆忙建立的边境定居点到一个对自己的未来和在该地区的地位充满信心的城镇的变化，在这座建筑中得到了体现。研究发现，隐含文化意义的叙事是不完整和不连贯的。这个地方与汤斯维尔的基础及其作为港口的早期发展有着内在的联系。因此，它也象征着定居者、殖民地和第一民族文化的交汇。同样明显的是，由于叙事中明显的选择性意识，持续的商业需求和这个地方的文化意义之间的关系没有得到解决。在当代实践的背景下重新交叉这些叙述为正在进行的变化提供了一个框架。这对于商业用途来说是必不可少的，因为它需要适应商业现实，同时也要回应遗产的限制。论文的重点是潜在的叙述，而不是他们可能的解释。对于Burns Philp大楼来说，这项研究是及时的，因为在经历了一段时间的衰落之后，新业主正在考虑进一步的改变，汤斯维尔市议会正在迅速建设横跨该场地的东区木板路。
{"title":"Selective Consciousness: Re-crossing Heritage Narratives","authors":"John Loneragan","doi":"10.55939/a5030p5x75","DOIUrl":"https://doi.org/10.55939/a5030p5x75","url":null,"abstract":"The Burra Charter: the Australia ICOMOS Charter for Places of Cultural Significance has evolved with a broadening of definitions, scope and acknowledgement of multiple values since first adopted in 1979. Accepted normative cultural heritage practices have been called into question in recent years, especially in places where settler colonial settlement occurred. These advances have unsettled previously accepted relationships between place, heritage fabric and community. This paper re-investigates the former Burns, Philp & Co Ltd Offices and Warehouse (1895) in the North Queensland regional centre of Townsville. It was identified in 1975 as a landmark and is at an important intersection of heritage buildings. The change from a hastily erected frontier settlement to a town confident in its future and place in the region is illustrated in this building.\u0000The research found that the narratives underlying the cultural significance were incomplete and disconnected. This place was intrinsically linked with the foundation of Townsville and its early development as a port. Hence, it also symbolises the crossing of settler colonial and First Nations peoples’ cultures. It was also evident that the relationship between ongoing commercial needs and the cultural significance of the place were unsettled due to the selective consciousness evident in the narratives. Re-crossing these narratives within the context of contemporary practice provides a framework to inform ongoing change. This is essential for a commercial use that is required to adapt to commercial reality while also responding to heritage constraints. The focus of the paper is then the underlying narratives rather than their possible interpretation. This study is timely in the case of the Burns Philp Building as new owners contemplate further change after a period of decline and Townsville City Council is rapidly constructing the East End boardwalk across the site.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127493352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Westfield lies in the heart of Victoria’s second city, Geelong. The transformation of an entire city block into a shopping complex stemmed from necessity, as the city entered the early phase of deindustrialisation. It involved the redevelopment of an entire urban block with multiple heritage buildings. The project was conceived 50 years ago when the city’s defining wool industry experienced a significant decline following the 1970s global energy crisis and economic slump. This downturn left numerous industrial buildings in central Geelong redundant. This situation challenged the very identity of Geelong, as well as its raison d’etre. While the transformation of the site raises issues to do with urban visioning, the adaptive reuse of multiple significant heritage buildings highlights the intersections and tensions between architectural design and heritage practices. There is great potential in adaptive reuse to mobilise a critical understanding of the environment/city/economy based on engagement with earlier layers of historical development. This paper critically reviews the history of Westfield Geelong by considering the 1970s vision “City by the Bay,” detailing the history of Brougham Street to understand the significance of the site and scrutinising the heritage strategy of facadism adopted in the realisation of Westfield. Understanding how this development has redefined Geelong as a city is critical to now strategically rethinking a city facing rampant development. This paper argues that the criticality of heritage and adaptive reuse must be recognised, such that the architecture and its narratives can reveal the legacy embedded in the city’s historic structures, be understood within the context of Geelong’s fast-paced self-reinvention through architectural and urban transformations, and be a positive progressive force in the city’s evolving identity.
{"title":"Adaptive Reuse: The Case of Geelong’s Westfield, where Architectural, Urban and Heritage Practices Intersect","authors":"Chayakan Siamphukdee, U. De Jong","doi":"10.55939/a5041pcarc","DOIUrl":"https://doi.org/10.55939/a5041pcarc","url":null,"abstract":"Westfield lies in the heart of Victoria’s second city, Geelong. The transformation of an entire city block into a shopping complex stemmed from necessity, as the city entered the early phase of deindustrialisation. It involved the redevelopment of an entire urban block with multiple heritage buildings. The project was conceived 50 years ago when the city’s defining wool industry experienced a significant decline following the 1970s global energy crisis and economic slump. This downturn left numerous industrial buildings in central Geelong redundant. This situation challenged the very identity of Geelong, as well as its raison d’etre. While the transformation of the site raises issues to do with urban visioning, the adaptive reuse of multiple significant heritage buildings highlights the intersections and tensions between architectural design and heritage practices.\u0000There is great potential in adaptive reuse to mobilise a critical understanding of the environment/city/economy based on engagement with earlier layers of historical development. This paper critically reviews the history of Westfield Geelong by considering the 1970s vision “City by the Bay,” detailing the history of Brougham Street to understand the significance of the site and scrutinising the heritage strategy of facadism adopted in the realisation of Westfield.\u0000Understanding how this development has redefined Geelong as a city is critical to now strategically rethinking a city facing rampant development. This paper argues that the criticality of heritage and adaptive reuse must be recognised, such that the architecture and its narratives can reveal the legacy embedded in the city’s historic structures, be understood within the context of Geelong’s fast-paced self-reinvention through architectural and urban transformations, and be a positive progressive force in the city’s evolving identity.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131164752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines two high-profile commemorative spaces in Namibia’s national capital, Windhoek, designed and constructed by North Korean state-owned enterprise Mansudae Overseas Projects. These commemorative projects illustrate the complex and evolving intersections between public art, architecture and urban form in this post-colonial context. They show how sites designed around heritage and collective identity intersect with urban space’s physical development and everyday use. The projects also illustrate the intersecting histories of three aesthetic lineages: German, South African and North Korean. This paper will show how these commemorative spaces embody North Korean urban space ideas while also developing new national symbols, historical narratives and identities within Windhoek’s urban landscape as part of independent Namibia’s nation-building. The monument’s ‘Socialist Realist’ aesthetic signals a conscious departure from the colonial and apartheid eras by the now-independent Namibian government. This paper extends prior research focused on the symbolism of Mansudae’s monumental schemes by analysing these monuments’ design, placement, public reception and use within Windhoek as they relate to the city’s overall development since Namibia’s independence in 1990. By documenting the form, location and decision-making processes for the Mansudae-designed memorials in Windhoek and historical changes in their spatial and political context, the paper explores the interaction between North Korean political ideology and design approaches and Namibia’s democratic ambitions for city-making. The paper’s mapping analysis spatially compares the sculptural, architectural and urban design strategies of Mansudae’s additions to Windhoek’s City Crown (2010-14) to Pyongyang’s Mansu Hill Grand Monument (1972-2011), and Windhoek’s Heroes’ Acre (2002) to Mansudae’s earlier National Martyrs Cemetery outside Pyongyang (1975-85).
{"title":"North Korean Aesthetics within a Colonial Urban Form: Monuments to Independence and Democracy in Windhoek, Namibia","authors":"Stephanie Roland, Q. Stevens","doi":"10.55939/a5038pxdax","DOIUrl":"https://doi.org/10.55939/a5038pxdax","url":null,"abstract":"This paper examines two high-profile commemorative spaces in Namibia’s national capital, Windhoek, designed and constructed by North Korean state-owned enterprise Mansudae Overseas Projects. These commemorative projects illustrate the complex and evolving intersections between public art, architecture and urban form in this post-colonial context. They show how sites designed around heritage and collective identity intersect with urban space’s physical development and everyday use. The projects also illustrate the intersecting histories of three aesthetic lineages: German, South African and North Korean. This paper will show how these commemorative spaces embody North Korean urban space ideas while also developing new national symbols, historical narratives and identities within Windhoek’s urban landscape as part of independent Namibia’s nation-building. The monument’s ‘Socialist Realist’ aesthetic signals a conscious departure from the colonial and apartheid eras by the now-independent Namibian government.\u0000This paper extends prior research focused on the symbolism of Mansudae’s monumental schemes by analysing these monuments’ design, placement, public reception and use within Windhoek as they relate to the city’s overall development since Namibia’s independence in 1990. By documenting the form, location and decision-making processes for the Mansudae-designed memorials in Windhoek and historical changes in their spatial and political context, the paper explores the interaction between North Korean political ideology and design approaches and Namibia’s democratic ambitions for city-making. The paper’s mapping analysis spatially compares the sculptural, architectural and urban design strategies of Mansudae’s additions to Windhoek’s City Crown (2010-14) to Pyongyang’s Mansu Hill Grand Monument (1972-2011), and Windhoek’s Heroes’ Acre (2002) to Mansudae’s earlier National Martyrs Cemetery outside Pyongyang (1975-85).","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134376394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1984 HM King Charles III, then HRH The Prince of Wales, gave the infamous speech to the RIBA in which he was critical of a proposed new extension to the National Gallery in Trafalgar Square. The fervour unleashed in the press signified a unique moment when architecture, conservation, planning and development became a much – and still – talked about part of the public discourse in Britain. Conservation theory had dictated since its early guidelines of practice that new additions to historic works should be clearly distinguished from their original host or the existing environment. Historicism, imitating the existing architecture within an urban setting was taboo, a notion that went back to Ruskin and the anti-scrape lobby of Morris. Unravelling the events of the 1980s, however, reveals that the desire to copy past forms as a means of retaining the past maintained an ongoing and strong legacy. It had become a method of seeking refuge from the failures of modernism and the divergence between traditional and modern forms, language and techniques. Openly acknowledged that modernism was anti- historic and anti-urban, classicism and medieval towns and forms offered the example of outdoor rooms and a predominance of solids over voids. For the then Prince and his many followers, including vast members of the public, the use of a traditional architectural style as infill in a classically inspired building setting was “good” design practice. At this point, ironically, the retreat to historicism also comprised not only mimicking traditional details but also their playful reinterpretation through an esoteric postmodernism. But the topic of new into old had become confused: the critical issue was one of urban design and not the language of infill architecture. Three case studies within the historic core of the City of London, the basis of criticism in Charles’ speeches of 1984 and 1987, will be explored through the popular press in order to understand their lessons and relevance to the complexity of current contemporary conflicts in historic urban areas.
{"title":"The Great Debate: Campaigns and Conflicts in London in the 1980s","authors":"R. Christie","doi":"10.55939/a5016p9v9h","DOIUrl":"https://doi.org/10.55939/a5016p9v9h","url":null,"abstract":"In 1984 HM King Charles III, then HRH The Prince of Wales, gave the infamous speech to the RIBA in which he was critical of a proposed new extension to the National Gallery in Trafalgar Square. The fervour unleashed in the press signified a unique moment when architecture, conservation, planning and development became a much – and still – talked about part of the public discourse in Britain. Conservation theory had dictated since its early guidelines of practice that new additions to historic works should be clearly distinguished from their original host or the existing environment. Historicism, imitating the existing architecture within an urban setting was taboo, a notion that went back to Ruskin and the anti-scrape lobby of Morris. Unravelling the events of the 1980s, however, reveals that the desire to copy past forms as a means of retaining the past maintained an ongoing and strong legacy. It had become a method of seeking refuge from the failures of modernism and the divergence between traditional and modern forms, language and techniques. Openly acknowledged that modernism was anti- historic and anti-urban, classicism and medieval towns and forms offered the example of outdoor rooms and a predominance of solids over voids. For the then Prince and his many followers, including vast members of the public, the use of a traditional architectural style as infill in a classically inspired building setting was “good” design practice. At this point, ironically, the retreat to historicism also comprised not only mimicking traditional details but also their playful reinterpretation through an esoteric postmodernism. But the topic of new into old had become confused: the critical issue was one of urban design and not the language of infill architecture. Three case studies within the historic core of the City of London, the basis of criticism in Charles’ speeches of 1984 and 1987, will be explored through the popular press in order to understand their lessons and relevance to the complexity of current contemporary conflicts in historic urban areas.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122755449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I. Nazareth, C. Hamann, Rosemary Heyworth, Lisa Gargano
The dominance of protective dispersal then freeway building in 1950s and 1960s Melbourne planning reflects a view of its suburbs as an undifferentiated sprawl, with little internal agency, difference, nuance, cultural or visual texture. It is seen as primarily determined by demands of Melbourne’s CBD, and is assumed to spread in almost magic fashion: landscape one minute, ‘suburbia’ the next. For varied reasons this view is consolidated in planning imagery, responding to concerns at commuting and transport distance, disappearing food-producing land near the city, and concerns at raising population density. The result is urban form perceived constantly through liminality and outer boundary conditions: extensive borderlines. This suited urbanism that dealt with cities through quantification and circulation routes. This paper argues the dynamics of Melbourne’s suburban development come not from concentric spread but from the steady, sequential emergence of nodal suburbs, themselves major generators of commercial, industrial and transport activity. The original determinants for these suburban nodes were (i) the inability of Melbourne suburbs to remain in walk-to-work scales; (ii) the means to commute lowering urban density – initially through train and tram, and later cars commuting; (iii) these nodal suburbs’ breaking of the long arterial road system that shaped Melbourne’s early suburban form till the 1880s, largely by developing off or away from these arteries; (iv) the imagery of clustered institutional buildings with increased mass and expression beyond those of surrounding suburbs; (v) the specialisation of tributary suburbs as a residential hinterland, not for Melbourne the collected city, but for each of these localised nodes; and (vi) each suburban node gained a series of standard assets in making it an urban focus. These nodes form part of a series of intensive boundaries: more nuanced and individually distinctive. Intensive boundaries also encompass the miniature urban forms and specific urban models emulated in suburban nodes.
{"title":"Intensive Boundaries and Liminality: What drives Melbourne’s Suburban Sprawl","authors":"I. Nazareth, C. Hamann, Rosemary Heyworth, Lisa Gargano","doi":"10.55939/a5033p7byu","DOIUrl":"https://doi.org/10.55939/a5033p7byu","url":null,"abstract":"The dominance of protective dispersal then freeway building in 1950s and 1960s Melbourne planning reflects a view of its suburbs as an undifferentiated sprawl, with little internal agency, difference, nuance, cultural or visual texture. It is seen as primarily determined by demands of Melbourne’s CBD, and is assumed to spread in almost magic fashion: landscape one minute, ‘suburbia’ the next. For varied reasons this view is consolidated in planning imagery, responding to concerns at commuting and transport distance, disappearing food-producing land near the city, and concerns at raising population density. The result is urban form perceived constantly through liminality and outer boundary conditions: extensive borderlines. This suited urbanism that dealt with cities through quantification and circulation routes. This paper argues the dynamics of Melbourne’s suburban development come not from concentric spread but from the steady, sequential emergence of nodal suburbs, themselves major generators of commercial, industrial and transport activity.\u0000The original determinants for these suburban nodes were (i) the inability of Melbourne suburbs to remain in walk-to-work scales; (ii) the means to commute lowering urban density – initially through train and tram, and later cars commuting; (iii) these nodal suburbs’ breaking of the long arterial road system that shaped Melbourne’s early suburban form till the 1880s, largely by developing off or away from these arteries; (iv) the imagery of clustered institutional buildings with increased mass and expression beyond those of surrounding suburbs; (v) the specialisation of tributary suburbs as a residential hinterland, not for Melbourne the collected city, but for each of these localised nodes; and (vi) each suburban node gained a series of standard assets in making it an urban focus.\u0000These nodes form part of a series of intensive boundaries: more nuanced and individually distinctive. Intensive boundaries also encompass the miniature urban forms and specific urban models emulated in suburban nodes.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125703738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation. This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation. Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.
围绕巴黎圣母院的叙事和记忆的修复和再现的争议并不新鲜。最近的争论提醒我们，自19世纪以来，这座建筑一直处于保护争议的中心。但为什么巴黎圣母院是这些争论的中心呢?答案似乎在于它作为巴黎和法兰西民族的记忆装置的功能。本文重点研究了维克多·雨果在1823年至1832年间发表的四篇文学作品——《黑带》(Le Bande Noir)、《法国纪念碑毁灭笔记》(Note sur la Destruction des Monuments en France)、《Guerre aux dsammolisurs !》(War on the demolition !)和巴黎圣母院(Notre-Dame de Paris)(又名“钟楼怪人”)。通过对这四篇文章的分析，本文将试图理解雨果关于建筑——尤其是巴黎圣母院——在建立城市和国家记忆中的作用的信念，以及这些信念如何反过来支持他的保护论点。虽然这些文本都是在心理学和记忆神经科学的关键当代概念发展之前写的，但本文仍然使用记忆，想象和心理时间旅行的概念来试图理解大教堂所做的记忆工作，以及雨果在他的作品中所暗示的记忆工作。通过研究雨果的文学作品如何增强和吸引读者对过去的记忆和想象，本文将解释雨果如何将这座建筑作为历史见证的想法浪漫化。这篇论文最后认为，雨果不仅将巴黎圣母院定位为自己小说的中心，而且将其定位为巴黎和法国记忆的灯塔，因此这座建筑代表了巴黎，甚至整个国家。
{"title":"Notre-Dame as the Memory of Paris: Hugo, the Historical Novel and Conservation","authors":"Sarah Zammit","doi":"10.55939/a5050pxtvl","DOIUrl":"https://doi.org/10.55939/a5050pxtvl","url":null,"abstract":"Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation.\u0000This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation.\u0000Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127873438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a technique that is based on the Cartesian coordinate system. First, through a literature review, this paper frames a salient aspect of Wang’s appreciation of the traditional Chinese landscape painting, namely the genre’s a-perspectival treatment of pictorial space. For Wang, the landscape painting embodies a culture-bound mode of “seeing,” which resorts to neither the illusionary perspective nor Cartesian metric space. Second, through case studies, this paper analyses the key aspects of Wang’s landscape painting-informed a-perspectival oblique drawings and his drawings’ critical implications. In his design for the Tengtou Pavilion (Shanghai, 2009-10), Wang creates nonrepresentational, immeasurable spaces with inconsistent projection fragments to evoke intended phenomenally boundless depth and transforms the technique into a collage device to prompt an architecture-landscape parallelism. In his sketch for the Lingyin Temple teahouse complex (Hangzhou, 2008-20), Wang doubles the modes of oblique drawing to attune the landscape painting and architectural projection and transform nature into built forms. By drawing on Wang’s case, this paper offers insights into how the standardised oblique drawing method can afford culturally grounded a-perspectival uses and how such critical adaptations could assist the architect to move across the ontological border between architecture and landscape.
{"title":"Crossing Landscape and Architecture: Embodiment of A-Perspectival Space in Wang Shu’s Oblique Drawings","authors":"Xin Jin","doi":"10.55939/a5027psugw","DOIUrl":"https://doi.org/10.55939/a5027psugw","url":null,"abstract":"Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a technique that is based on the Cartesian coordinate system.\u0000First, through a literature review, this paper frames a salient aspect of Wang’s appreciation of the traditional Chinese landscape painting, namely the genre’s a-perspectival treatment of pictorial space. For Wang, the landscape painting embodies a culture-bound mode of “seeing,” which resorts to neither the illusionary perspective nor Cartesian metric space. Second, through case studies, this paper analyses the key aspects of Wang’s landscape painting-informed a-perspectival oblique drawings and his drawings’ critical implications. In his design for the Tengtou Pavilion (Shanghai, 2009-10), Wang creates nonrepresentational, immeasurable spaces with inconsistent projection fragments to evoke intended phenomenally boundless depth and transforms the technique into a collage device to prompt an architecture-landscape parallelism. In his sketch for the Lingyin Temple teahouse complex (Hangzhou, 2008-20), Wang doubles the modes of oblique drawing to attune the landscape painting and architectural projection and transform nature into built forms.\u0000By drawing on Wang’s case, this paper offers insights into how the standardised oblique drawing method can afford culturally grounded a-perspectival uses and how such critical adaptations could assist the architect to move across the ontological border between architecture and landscape.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116829499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The increasing number of vacant properties is a pressing challenge in Japan today. Depopulated towns and neighbourhoods are experiencing socio-economic decline. In response, citizen groups have carried out diverse activities known as “machizukuri” to improve the quality of life in their communities and living environments. Since the 2000s, machizukuri practices that involve the renovation of vacant building stock came to be known as “renovation machizukuri” (renovation town-making) which emphasizes social engagement through participatory design and do-it-yourself (DIY) building methods. This paper presents examples of renovation machizukuri that have emerged in recent years and are still ongoing in three Japanese cities – Suwa, Kokura and Onomichi. These three case studies shed light on the evolving role of architects and professionals who work together with citizens and volunteers in the sharing of knowledge and resources drawn together through strong social networks both online and offline. They are part of a larger movement in the rise of renovation culture, signifying a new era in contemporary Japanese architecture and town planning.
{"title":"Renovation Machizukuri in Contemporary Japan: The Cases of Suwa, Kokura and Onomichi","authors":"Nancy Yao Ji","doi":"10.55939/a5026ptoed","DOIUrl":"https://doi.org/10.55939/a5026ptoed","url":null,"abstract":"The increasing number of vacant properties is a pressing challenge in Japan today. Depopulated towns and neighbourhoods are experiencing socio-economic decline. In response, citizen groups have carried out diverse activities known as “machizukuri” to improve the quality of life in their communities and living environments. Since the 2000s, machizukuri practices that involve the renovation of vacant building stock came to be known as “renovation machizukuri” (renovation town-making) which emphasizes social engagement through participatory design and do-it-yourself (DIY) building methods. This paper presents examples of renovation machizukuri that have emerged in recent years and are still ongoing in three Japanese cities – Suwa, Kokura and Onomichi. These three case studies shed light on the evolving role of architects and professionals who work together with citizens and volunteers in the sharing of knowledge and resources drawn together through strong social networks both online and offline. They are part of a larger movement in the rise of renovation culture, signifying a new era in contemporary Japanese architecture and town planning.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121804939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study is a combined scientific and subjective analysis of the history of the Urban Design Office (UDO) of the Yokohama city administration. The UDO celebrated its 50th anniversary in 2022. It is a rare example of a governmental organisation that has survived with the vague institutional objective of doing something for urban design. The UDO began in 1971 as part of the Planning and Coordination Department (PCD) led by Akira Tamura, an eminent urban planner. The goal of the PCD was to introduce new values into city management and development through collaboration with institutions inside and outside local government. In accordance with PCD policies, the UDO achieved several outcomes, such as pedestrian space improvements in the 1970s and the preservation of historical buildings in the 1980s. However, since the 1990s, the role of the UDO has shifted from practitioner to advisor because of policy changes enacted by new mayors. It may be that the UDO has gradually lost the basis for its existence in this process. Today, new urban issues, such as population, environment and gender, are emerging. In these times, if local governments uncritically accept the logic of capital and majority values, they cannot create better cities. The implication of this case study is to re-evaluate urban design in the contemporary context as a practitioner of coordinative mechanisms by local governments as it used to be.
{"title":"Reconsideration of Urban Design from a Perspective of Coordinative Mechanism in Local Administration: A Case Study of Yokohama’s Urban Design Section","authors":"Atsuhiro Aoki, T. Taguchi","doi":"10.55939/a5010pg3j7","DOIUrl":"https://doi.org/10.55939/a5010pg3j7","url":null,"abstract":"This study is a combined scientific and subjective analysis of the history of the Urban Design Office (UDO) of the Yokohama city administration. The UDO celebrated its 50th anniversary in 2022. It is a rare example of a governmental organisation that has survived with the vague institutional objective of doing something for urban design. The UDO began in 1971 as part of the Planning and Coordination Department (PCD) led by Akira Tamura, an eminent urban planner. The goal of the PCD was to introduce new values into city management and development through collaboration with institutions inside and outside local government. In accordance with PCD policies, the UDO achieved several outcomes, such as pedestrian space improvements in the 1970s and the preservation of historical buildings in the 1980s. However, since the 1990s, the role of the UDO has shifted from practitioner to advisor because of policy changes enacted by new mayors. It may be that the UDO has gradually lost the basis for its existence in this process. Today, new urban issues, such as population, environment and gender, are emerging. In these times, if local governments uncritically accept the logic of capital and majority values, they cannot create better cities. The implication of this case study is to re-evaluate urban design in the contemporary context as a practitioner of coordinative mechanisms by local governments as it used to be.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126113451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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